Endnotes

[1] Pascal Bonitzer, “The Skin and the Straw” from Slavoj Zizek, Everything You Wanted to Know about Lacan but Were Afraid to Ask Hitchcock  (New York: Verso, 1992) 180.

[2] Donald Spoto, The Art of Alfred Hitchcock: Fifty Years of his Motion Pictures.  (New York: Random House Publishers, 1992) 246.

[3] Spoto, The Art of Alfred Hitchcock, 253.

[4] Michelle Nickerson, “Women, Domesticity and Post-War Conservatism.” OAH Magazine of History. Vol. 17, no. 2 (2003) <http://www.oah.org/pubs/magazine/conservatism/nickerson.html> (15 April 2006) 17.

[5] Robin Wood, Hitchcock’s Films Revisited: Revised Edition.  (New York: Columbia University Press, 2002) 368.

[6] Paula Marantz Cohen, Alfred Hitchcock: The Legacy of Victorianism. (Lexington, KY: University Press of Kentucky, 1995) 115.

[7] ibid., 117.

[8] Wood, Hitchcock’s Films Revisited 370.

[9] Bonitzer, "Straw" 181.

[10] Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema.  (Bloomington, IN: Indiana University Press, 1988) 100.

[11] Ralph Locke, “Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images from the Middle East,” 19th Century Music, Vol. 22, No. 1, (Summer 1998) <http://links.jstor.org/sici?sici=0148-2076%28199822%2922%3A1%3C20%3ACACDMA%3E2.0.CO%3B2-L> (15 April 2006) 51.

[12] Murray Pomerance, “Storm Clouds, and The Man Who Knew Too Much,” from Davidson Neumeyer, Music and Cinema, (Middletown, CT: Wesleyan University Press, 2000) 239.

[13] Spoto, The Art of Alfred Hitchcock 246.